The Living Daylights Title Sequence
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Title sequence created by Maurice Binder
'The Living Daylights' performed by A-ha, written by Paul Waaktaar and John Barry. 'If There Was A Man' and 'Where Has Everybody Gone' performed and written by The Pretenders.
Featured in The Living Daylights (1987)
Visuals
Maurice Binder returns for what would be his penultimate title. Unfortunately there isn't much going on here. There are some long, lingering shots of female forms, rippling water effects and jumping silhouettes, but sadly nothing really new. The sequence ends rather strangely with a woman rising out of a champagne glass who looks longingly at the viewer before resting her head on her arms.
Theme
After the success of the theme in A View To A Kill, the producers were hoping to keep that same popularity and energy going by hiring Norwegian band A-ha. With problems between the group and John Barry, who would appear for the last time, things didn't get off to a good start. However as well as the Living Daylights title theme », there is also the delight of having two additional songs to enjoy as well. First is 'Where Has Everybody Gone' » which features during the film, and then in a departure from the norm is 'If There Was A Man' » taking over during the closing credits.
There is mixed opinion on the song itself. Featuring a catchy, upbeat theme, there is some interesting synth work going on, as well as some nice flute cues and is certainly representative of the 80's. The song flows along at a nice pace and is rhythmic and catchy. However some fans disagree, arguing that the song nowhere near matches 'A View To A Kill' and prefer the other two songs featured in the film.
The opinion is mixed when it comes to the charts as well. Perhaps not unexpectedly, the single reached number one in Norway. In the UK it managed number 5 at the height of its success, also doing very well in other European countries. However in the US, the single doesn’t even make the charts.
Lyrics
Hey driver where we going? I swear, my nerves are showing. Set my hopes up way too high, the livings in the way we die.
Comes the morning and the headlights fade away. Hundred thousand people, I'm the one they blame. I've been waiting long for one of us to say, to save the darkness and let it never fade away.
In the living daylights. In the living daylights (the living daylights).
Alright hold on tighter now it's down, down to the wire. Set your hopes up way too high the livings in the way we die.
Comes the morning and the headlights fade away. Hundred thousand changes, everythings the same. I've been waiting long for one of us to say, save the darkness and let it never fade away.
The living daylights. The living daylights (the living daylights). The living daylights (the living daylights).
[Comes the morning and the headlights fade away. Hundred thousand people, I'm the one they blame.
The living daylights. The living daylights (the living daylights). (The living daylights). Set your hopes up way too high. (The living daylights). Livings in the way we die. (The living daylights). Set your hopes up way too high. (The living daylights). Livings in the way we die. (The living daylights). Set your hopes up way too high.]
[ ] Not heard in the title sequence. §
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